The diptych portrays archetypal female figures drawn from the world of fantasies and representation. Condemned to wandering, as if trapped in a specific temporality, The Wife and The Housewife emerge from the clash between gesture and the necessity to remain on display.

The obsolescence of such representations inspires the choreographic language, which, like “glitch art,” is built from dysfunction and system errors.

These two portraits seek to measure the gap between reality and fantasy, physical body and lived body.

Inevitably, the question of gender representation arises. Deeply rooted in a theatrical context, this work is not a simplistic satire on the representation of women.

Instead, the fascination lies in the construction of a multiple identity, where the body moves according to various bipolarities.

Desperately clichéd, these figures embody the derision, absurdity, and even nightmare of a (perhaps past) normative representation of happiness.